Lightweight bio of Rush Hudson Limbaugh III, the heartland eminence whose glib wit and rough charms have made him a heavyweight champion of tory causes. With no help (or hindrance) from his subject, Colford (a media columnist for Newsday) has cobbled together a once-over-lightly account of Limbaugh's life that, among other shortcomings, provides superfluous detail on broadcast-industry minutiae. The author first tracks the man from Cape Girardeau, Missouri, in his determined efforts to forge a career in radio. Having failed as a top-40 DJ and spent five unfulfilling years in promotion for baseball's Kansas City Royals, Limbaugh made a name for himself as host of an afternoon talk show in Sacramento—an act taken national in 1988 by a crafty packager. The rest, so to speak, is history: The immensely popular college dropout (who turns 42 this year) now reaches over four million listeners daily with his brashly conservative radio commentaries. He also presides over a half-hour syndicated TV show and, of course, has written the bestselling The Way Things Ought to Be (1992). While Colford expresses some grudging admiration for Limbaugh—whose jocular broadsides challenge conventional liberal wisdom on fronts from abortion to cultural diversity, the environment, feminists, homosexuality, and taxation—he's at pains to dish such dirt as can be unearthed. Among other matters, the author delves inconclusively into Limbaugh's 4-F draft status during the Vietnam War; remarks frequently on his subject's lifelong weight problems; features sources who view the twice- divorced commentator as a lonely guy; and questions whether a Manhattan-based Limbaugh can survive as a superstar member of the media elite he professes to despise. What Colford doesn't do is offer any sustained analysis of the visceral appeal of an entertainer who's given voice to many of the electorate's deepest aspirations—and fears. A profile of a consequential showman, then, that's more notable for background noise than substantive content. (Eight pages of photographs—not seen).
Pub Date: Oct. 1, 1993
ISBN: 0-312-09906-1
Page Count: 272
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1993
BOOK REVIEW
Her biographer, James Westcott, once said: “every time she tells a story, it gets better,” and one can’t help but wait in...
Legendary performance artist Abramovic unveils her story in this highly anticipated memoir.
When she was growing up, the author lived in an environment of privilege in Yugoslavia, which was on the verge of ruin. Her parents, two fervent communist partisans and loyal officers during Josip Broz Tito’s rule, were not the warmest people. Abramovic was put under the care of several people, only to be taken in by her grandmother. “I felt displaced and I probably thought that if I walked, it meant I would have to go away again somewhere,” she writes. Ultimately, she carried this feeling of displacement throughout most, if not all, of her career. Many remember The Artist Is Present, her 2010 performance at the Museum of Modern Art in New York during which she sat in front of museumgoers for 736 hours, but her work started long before then. As a woman who almost single-handedly launched female performance art, the author has spent the better part of her life studying the different ways in which the body functions in time and space. She pushed herself to explore her body’s limits and her mind’s boundaries (“I [have] put myself in so much pain that I no longer [feel] any pain”). For example, she stood in front of a bow and arrow aimed at her heart with her romantic and performance partner of 12 years, Ulay. She was also one of the first people to walk along the Great Wall of China, a project she conceived when secluded in aboriginal Australia. While the author’s writing could use some polishing, the voice that seeps through the text is hypnotizing, and readers will have a hard time putting the book down and will seek out further information about her work.
Her biographer, James Westcott, once said: “every time she tells a story, it gets better,” and one can’t help but wait in anticipation of what she is concocting for her next tour de force.Pub Date: Oct. 25, 2016
ISBN: 978-1-101-90504-3
Page Count: 384
Publisher: Crown Archetype
Review Posted Online: Aug. 20, 2016
Kirkus Reviews Issue: Sept. 1, 2016
BOOK REVIEW
An altogether charming and, yes, delightful book.
A collection of affirmations, noncloying and often provocative, about the things that make justice worth fighting for and life worth living.
Gay—a poet whose last book, the winner of the National Book Critics Circle Award, bears the semantically aligned title Catalog of Unabashed Gratitude (2015)—is fully aware that all is not well in the world: “Racism is often on my mind,” he writes by way of example. But then, he adds, so are pop music, books, gardening, and simple acts of kindness, all of which simple pleasures he chronicles in the “essayettes” that make up this engaging book. There is much to take delight in, beginning with the miraculous accident of birth, his parents, he writes, a “black man, white woman, the year of Loving v. Virginia, on a stolen island in the Pacific, a staging ground for American expansion and domination.” As that brief passage makes clear, this is not a saccharine kind of delight-making but instead an exercise in extracting the good from the difficult and ugly. Sometimes this is a touch obvious: There’s delight of a kind to be found in the odd beauty of a praying mantis, but perhaps not when the mantis “is holding in its spiky mitts a large dragonfly, which buzzed and sputtered, its big translucent wings gleaming as the mantis ate its head.” Ah, well, the big ones sometimes eat the little ones, and sometimes we’re left with holes in our heads, an idiom that Gay finds interesting if also sad: “that usage of the simile implies that a hole in the head, administered by oneself, might be a reasonable response.” No, the reasonable response is, as Gay variously enumerates, to resist, enjoy such miracles as we can, revel in oddities such as the “onomatopoeicness of jenky,” eat a pawpaw whenever the chance to do so arises, water our gardens, and even throw up an enthusiastic clawed-finger air quote from time to time, just because we can.
An altogether charming and, yes, delightful book.Pub Date: Feb. 12, 2019
ISBN: 978-1-61620-792-2
Page Count: 288
Publisher: Algonquin
Review Posted Online: Jan. 12, 2019
Kirkus Reviews Issue: Feb. 1, 2019
BOOK REVIEW
BOOK REVIEW
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